12. In Place of Homunculism and Mephistophelianism

Then take the moment when Mephistopheles joins the Phorkyads, when he himself takes on the form of a Phorkyad, and in all his ugliness goes as far as admitting it. Previously he was lying, but when the Phorkyads surround him he is obliged to admit his ugliness. Read the speech of the Phorkyads again; they too acknowledge their ugliness, and are in a certain way honest in their ugliness. In this moment you have a contrast to that sacred and sublime moment when Faust stands before Manto. What makes us lose ourselves in motives of will is clearly seen when Mephistopheles appears for the last time in the Classical Walpurgis-Night. Faust appears for the last time visibly, in the external drama, precisely in this scene with Manto—Mephistopheles in the scene with the Phorkyads. Goethe wished to indicate from the depths of his profound experience that, fundamentally, what makes us lose ourselves in the motives of will can only be set right if we not merely abhor it morally, but also experience it as something offending our taste. This was at the root of Schiller's feeling too, when he placed what is moral in such close connection with the aesthetic in his Aesthetic Letters.